It certainly was fun! 15 artists, a sunny day, some wine and lots of art.
Filming in Second Life with the Spacenavigator – I found out the hard way that the driver updates (for Windows 10) will not work with the 3dconnexion mouse. So, a clean install of the old 3.16.3 r1447 drivers fixed the problem! It is also on the cd that came with your SpaceNavigator 🙂
The link to the old driver is here: 3dconnexion
In case this doesn’t work, as the issue is not related to the windows 10 driver of 3Dconnexion but to the poor implementation of Joystick API of Second Life viewers (standard & firestorm), follow the following steps after installing the drivers.
You need to deactivate the HID controller associated with “3Dconnexion KMJ Emulator”. Unfortunately second life viewer only recognizes the first alphabetic driver, i.e. K of KMJ before S of Spacenavigator. (Actually this was true with windows 7 as well, so it is definately not a W10 issue).
In Windows, go to Control Panel > Administrative Tools > Computer Management. Select the Device Manager from the left pane, and then choose the Human Interface Devices and check to see if you have a device called 3Dconnexion KMJ Emulator. You may or may not be able to disable this device (Properties > Driver > Disable), but disable it if you can. Additionally, find a HID-compliant device, HID-compliant game controller, or HID-compliant consumer control device, and check the Hardware ID (Properties > Details > Hardware IDs), looking for HID\3DXKMJ_HIDMINI&Col03 as the topmost value. When you find the device, disable it from the Driver tab.
A brilliant explanation is to be found on NALATES blog.
She mentiones that you should close all other applications while setting the properties in your SpaceNavigator settings, and this did the trick for me. The nav will make any application that is open the key app, and as I use it mainly in Second Life……
Thanks, Erythro Asimov, for your help!
With all the wood and branches in my garden, there must be lots of projects to go for. This summer is going to be a very exciting and productive one!
The CatART tree was the first, and next will be this:
62 Annual July 25, 2013 to August 11, 2013
The Melbourne International Film Festival (MIFF), through the Government of Victoria, has established an ongoing fund for supporting new Australian theatrical films and feature-length documentaries. The MIFF Premiere Fund aims to support quality feature-length projects that will have their International premiere at MIFF.
Round 18 of the MIFF Premiere Fund, which seeks 2014 premieres, is open for submissions with applications closing on 21 November and decisions due by 21 January 2013.
Established in 1952, the Melbourne International Film Festival (MIFF) is one of the world’s oldest film festivals and the Southern Hemisphere’s largest. The Festival has a large, dedicated and growing audience with a well-established public profile as a major event on the Australian calendar.
The Festival is a unique event in Australia, with a vibrant screening program, a loyal audience, and industry initiatives providing opportunities for Australian filmmakers at many levels. In recent years, MIFF has successfully extended its activities to include a raft of industry and filmmaker focused programs to complement its core business, the screening program. These are:
• Accelerator, a 4-day educational and inspirational skills development program for up-and-coming directors with short films screening at MIFF;
• MIFF 37ºSouth Market, a 4-day film financing market for producers with market-ready projects pitching to potential international and local co-financing partners;
• MIFF Premiere Fund, MIFF’s own investment and loan fund, providing essential financing support for local feature-length films. In 2012 MIFF presented 31 world premieres 5 of which were Premiere Fund films. Of 11 screenings of these titles, 7 were sold out sessions.
MIFF has an Academy, BAFTA, AACTA and IF Awards accredited short film competition. The winners of the top prizes in the competition become eligible for Oscar® consideration.
MISSION & OBJECTIVE of the Kairos Prize for Spiritually Uplifting Screenplays:
Seeking spiritually uplifting, Judeo-Christian feature-length screenplays.
We accept feature-length scripts up to 130 pages. We will also accept scripts between 131 to 150 pages – however there is an additional $20 charge.
ABOUT THE FESTIVAL
Supported by a grant from The John Templeton Foundation and established by MOVIEGUIDE in 2005, the primary purpose of the prize is to further the influence of moral and and spiritual values within the film and television industries. Seeking to promote a spiritually uplifting, redemptive worldview, MOVIEGUIDE announces the 5th Annual Kairos Prize that will help inspire first-time and beginning screenwriters to produce compelling, entertaining, spiritually uplifting scripts that result in a greater increase in either man’s love or understanding of God.
Michael Trent (Festival Registrar) ; Michael Trent (Festival Registrar)
IMPORTANT NOTE: There are many screenwriting competitions that honor wonderful, exciting and entertaining scripts, and some that honor moral scripts, but the Kairos Prizes for Spiritually Uplifting Screenplays endeavors to encourage the production of feature films that are wholesome, uplifting, and inspirational and which result in a greater increase in either man’s love or understanding of God. Our intention in setting up the Guidelines and Criteria is to clearly define the competition so that you will be successful in your submissions. A word of warning: This competition is not for the nominalist, occult, new age, or other non-Judeo-Christian spirituality.
Lights. Camera. Action. You hope. Directing professional talent isn’t always easy, but they usually know their jobs. Directing non-actors requires a different set of skills.
Directing non-professionals can be both rewarding and a real challenge. Whether it is the producer’s daughter or the CEO of a Fortune 500 company who insists on delivering the opening statement, directing non-professional talent takes a steady and patient hand. It also helps to have in your arsenal a few helpful hints and techniques ready to pull out at any given moment. In this column, we will discuss some ways to avoid potential pitfalls when directing non-professionals and ways to make your budding talent comfortable and capable of delivering a stellar performance.
Professional or Non-Professional – That Is the Question
Before trusting your production to the acting or speaking abilities of a non-professional, you need to ask yourself a few questions:
- Are you under a strict deadline?
- Will a national or even regional audience see your project?
- Is it essential that the script be delivered completely as written, or will you be able to rewrite it to make it more easily presented by a non-professional?
If you answered yes to one or more of these questions, you should probably seek out a professional who would be willing to work for you within your budget. Why? A professional will be able to work through your project quickly and efficiently, using years of training and practice to deliver the script with the right emphasis, tone and pace. Professionals will not only save you time, but also will be able to present the script as written and adapt their voices or act their parts with an eye on the final outcome.
The practiced ability and polish of a professional usually will play more effectively for a regional or national audience. There will be no glaring accent or local feel to the talent, and this will enhance the credibility of the project. This doesn’t mean that non-professional talent will not be able to deliver a valuable performance – it will just take longer, and you will need to be aware of your audience.
Directing the Non-Professional in a Narrative Piece
The key to using non-professionals in a narrative piece is to typecast your roles. Typecasting means you cast people in roles they closely resemble in look and personality. Famous Russian director Sergei Eisenstein used to cast butchers as butchers and military men as soldiers to add authenticity to the performance. While the role you are casting may be no more than a support player in an ensemble cast, choosing someone who resembles the role will make it a lot easier on both of you. If, however, the producer insists on casting his daughter in the lead role of a production, hope that person is similar to the character she will be playing because, otherwise, you will need to work much harder to make sure she delivers the performance you need.
When you are working with non-professionals on the narrative set, rehearsal is essential. Make sure your actors are very familiar with their blocking (the movement of the actor from one point to another), motivation for their lines and any “business” you may want them to perform while acting their parts. Business is a film term for the actions the actor may be doing to make the character authentic. If you are shooting a scene with a mother, you may have her making sandwiches for her children before they run off to school. The making of the sandwiches is the actor’s business. A chef may be preparing food, a doctor performing surgery or a police officer cleaning a gun. It is essential that the business be well-rehearsed, so it looks very natural.
Acting is more than delivering lines. It is inhabiting the character in such a way that it becomes real. Nothing is more distracting than watching a character perform an action he doesn’t understand or has not practiced and perfected. Non-professionals, if typecast, can perform quite well if they relate to their characters and are familiar with the type of business their character is assigned.
While knowing the characters and their business is important to the non-professional, understanding the technical requirements of the craft also plays a role in the success of the performance. Walk the talent through their scenes, and explain what is going on around them and how they need to relate to the various technical aspects of the set. Get them used to the lights, the ever-present crew, the closeness of the camera and any other equipment or personnel that may invade their space at any given time. Have them practice walking up to their marks and delivering their lines, while doing their business. Explain to them how close the camera position may be, as well as the amount of space in the screen within which they have to work. Always make sure you present these details in layman’s terms, so your non-professional talent can easily understand them. Throwing jargon at novice actors will do nothing to build their confidence.
As you rehearse the scene, listen carefully to what the actors say and the way they deliver their lines. Give them encouragement if they blow a line or two. If they stumble on a particular line, work with the scriptwriter, if available, to find a way to say the same idea in a way the talent can handle. Sometimes certain words don’t seem to fit in an actor’s mouth, and a slight tweak of the dialogue without changing its meaning helps.
Before rolling tape, explain to the actors the typical procedure for doing the scene: the commands they will hear and the importance of each. The more familiar and comfortable the talent is on the set, the better the performance will be.
When rolling, watch the talent’s performance, and make sure you get what you are looking for. Do not be afraid to shoot multiple takes. Explain to the actor what you want during each take, and gently shape the performance so that both of you will be happy with the end result.
Directing the Non-Professional in a Non-Fiction Piece
More often than not, the non-fiction world is where you will be working with the non-professional talent. Often when you produce corporate video, the client prefers to use in-house people. This is actually to your advantage, since you will not have to explain to actors something they have no clue about. It is a bit like typecasting in the fiction narrative. The talent knows how to work the machinery, speak the jargon of the workplace or maneuver through a difficult procedure.
When working with the CEO or other administrative personnel, treat them with respect, but do not give in to their demands. They will often ask for cue cards or ready-made speeches. Both will lead to very stilted and drab performances they will not like in the end. You may allow them to use note cards, but, if they do, type the cue words on blue note cards in large letters, and have them hold the cards so that they are visible. Walk them through the material until they get comfortable working in front of the camera. When you do roll tape, their delivery will be a lot more relaxed, they won’t appear to be reading and they will present the information in a much more credible fashion than by reading a written speech.
On the technical side, when working with non-professionals, make sure you explain the equipment you are setting up and the objective of that particular shoot. Turn off the tally light so there isn’t a glaring red light in the talent’s eyes, reminding them they are on camera. This also will prevent their knowing when the camera is rolling.
As in the fiction narrative, rehearse both camera and talent moves. If you are looking for a certain emphasis during a moment in the script, place a mark on the floor and rehearse the movement with the talent. Make the movement as simple as possible to avoid confusion and make the final result professional in quality and tone.
The Director’s Role
When directing non-professional talent, you have to maintain an air of professionalism and confidence in the talent’s ability to perform to the standard needed to produce a great project. Walk them through everything, be patient, be supportive and always make sure your goal is very specific. A wishy-washy director would spell doom to a non-professional who might already be uncomfortable in front of the camera and crew. Explain everything as you go, and be prepared to answer questions that may arise. If needed, tweak the script so it fits better in the talent’s mouth. Above all else, do not yell, scream or carry on if they blow a line. Treat them with respect and kindness, and they will respond.
Working with non-professional talent, while at times seeming to be an all-consuming project, can be full of pleasant surprises. If you go to the set with a plan, work patiently with your talent and break the script into small, bite-size pieces, your shoot should be a big success.
Contributing editor Robert G. Nulph, Ph.D., teaches video and film production at the university level and owns an independent video production company.
LEA Land Grant Application: Round Three
It’s time for the next round of the LEA Artist-in-Residence Land Grants!
The LEA Land Grant program seeks to promote and nurture the arts in Second Life, through a six-month land grant to recipients. Recipients can be individuals or groups interested in creating or curating art, or proposing cultural projects which would require/utilise a full-sim build and can be completed within the allotted time frame. The LEA is able to offer land grants through the generosity of Linden Lab.
28 Annual January 24, 2013 to February 03, 2013
MISSION & OBJECTIVE
Now in its 28th year, The Santa Barbara International Film Festival (SBIFF) is a nonprofit organization dedicated to enriching local culture and raising consciousness of film as an art form. It presents quality American Independent, Spanish and Latin American, European, World and Documentary cinema within the beautiful setting of downtown Santa Barbara, a perfect backdrop and premier tourist destination in its own right. SBIFF will continue to build its acquisitions program with Traction Media, which highlights films for some of the world’s most viable distribution companies. SBIFF is also committed to educating our youth through the “10-10-10” youth filmmakers project and the unique “Field Trip to the Movies” program. With a projected audience of over 70,000, The Festival will screen more than 200 films over an eleven day period. SBIFF attracts an affluent, local, national and international consumer base, while maintaining strong ties with the entertainment industry in Los Angeles.
ABOUT THE FESTIVAL
The Santa Barbara International Film Festival (SBIFF) is an eleven day event held in the seaside resort city of Santa Barbara, California (90 minutes north of Los Angeles). SBIFF is proud to present a diverse slate of more than 200 films to over 70,000 film enthusiasts. Our audience is a unique combination of film industry professionals, local, regional and International attendees, and a large student population.
In addition to showcasing a diverse spectrum of films, tributes and galas. SBIFF also offers seminars with industry professionals including Directors, Screenwriters, Producers and Women’s Panels, as well as provocative Q&A sessions with a diverse selection of filmmakers.
SBIFF has established itself as one of the premier international film festivals and we look forward to building on that success in 2013 and creating opportunities for participants to network with some of the world’s leading independent distributors and filmmakers. In addition to expanding our slate each year to highlight emerging genres, styles and regions, SBIFF is growing our free educational and community outreach programs with the “10-10-10” youth filmmakers project, “Field Trip to the Movies” and “Applebox” which cumulatively served over 12,000 students and families during our last festival. Please visit our Website for more information on these and other SBIFF programs. http://www.sbfilmfestival.org
Michael Albright (Programming Manager) ; Michal Wiesbrock (Director of Development) ; Mickey Dudevich (Programming Coordinator) ; Rodney Gould (Director of Operations) ; Rodney Gould (Director of Operations) ; Roger Durling (Executive Director) ; Sean Pratt (Operations Manager) ; Steve Blain (Managing Director)
Each tape for projection must be labeled with name, filmmaker, Contact info, Running time and aspect ratio (4*3 or 16*9)
FILM ENTRY RULES
The accepted exhibition formats for our festival are :
35 mm – Optical, Dolby A, Dolby Digital only
Digibeta – 29.97 fps, Stereo
Sony HDCam – Sony HD cam only 23.98 fps and 59.94 fps, Audio is STEREO only
NOTE: These formats may vary depending on the category. Please check the submissions guidelines or contact email@example.com
All films must be in NTSC format. PAL is not accepted. It is the filmmakers responsibility to convert PAL to NTSC.
**FEE WAIVERS NOT AVAILABLE **
-Entry fee is non-refundable.
-For preview purposes, DVD (NTSC only) is preferred.
-DVDs MUST BE CLEARLY labeled on the spine with film title.
-Please do not send press kits with your screener unless requested.
-DVDs will not be returned.
-Films/videos that have received national U.S. network television (including cable) or theatrical release prior to Festival are not eligible.
-No music videos or commercials.
-More than one entry may be submitted. Each entry must be accompanied by its own online entry and entry fee.
-If your film is selected, original format prints will be due at the Festival offices no later than January 13th, 2012.
-The filmmaker will assume shipping costs of materials and print to SBIFF.
-Please DO NOT send in a press kit until AFTER you have received notification from SBFF.
-Upon acceptance, Filmmakers must agree to send no less than two high resolution digital screen shots to be used at the SBIFF’s discretion. Film posters will not be accepted.
-If your film is selected, you will be asked to provide: digital stills from the film; press materials; video trailer and digitized trailer for website (if available); posters and flyers.
-Titles produced in languages other than English must have legible English subtitles.
-Not all invited films officially selected will be eligible for competition.
-The selection committees’ and juries’ decisions are final.
-If selected, filmmaker gives SBIFF permission to audio-describe film for the sight-impaired.
-Title of work, WAB ID #, and name of entrant must be on all mailing containers and mailing labels, video boxes, photographs, videocassettes, film containers, cans, reels, and film leaders. Video boxes, film reels and cans must be numbered (1 of 2, 2 of 2, etc.).
-If paying by check, the check MUST include the film title and WAB ID #
-Import declaration statements: all non-U.S. entries must be sent via air mail registered with the declaration:
A) for 35mm films: “Free entry claimed under #724.10 (960.55) U.S. Tariff Act. To be returned following the Festival.”
B) for videotapes: “Free entry claimed under #724.12 (960.60) U.S. Tariff Act. To be returned following the Festival.” Entrants must assume all responsibility for clearing films and videotapes through U.S. and/or foreign customs officials.
-SBIFF reserves the right to make any necessary changes in regulations or Festival scheduling.